Camille Henrot at Kunsthalle Wien

 
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Henrot's object incongruence: material tension whose fault lines irrupt laughter. It's a comedy, acting sculpturally stupid, where material images don't add up. Henrot stretches sculptural sense like a cartoon mouse avoiding the axe, inducing cackles in children, material truth replaced with a clown. Who represents us today.



See too: “Puddle, pothole, portal” at Sculpture Center, Alicja Kwade at Kunstmuseum St. Gallen,  Camille Henrot at Metro Pictures,

Camille Henrot at Metro Pictures

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Leckey engaged in entertainment insofar as understanding the viewer as a receiver, not cryptographer presented an object-code for contemplation. An "object" instead active toward the viewer as receiver, and a for once happiness to pacify audience that so much art wished to shake "awake."
Nolan's Inception is the comic concrete (slapstick) version, a parable of the Hollywood model lulling viewer's into the theater's dream state, inserted with the various registries and synaptic firings of plot, awaking from a Hollywood feeling having somehow participated in it.  Entertainment the long thin wire pushed deep past cortex and pulsing.
Anyway this entertainment has something to do with Henrot, the surface means, and the telephones delivering comic haywire monologues into a viewers ear, the carousel, the overabundance of registry achieving big fatigue, delivery vehicles for the assuage of how fun it all is, so much fun.


See too: Venice vs Triennial, Mark Leckey at Haus Der Kunst + Kunsthalle Basel, “Puddle, pothole, portal” at Sculpture Center,